LOL, I’m a *tad* late on this… this has been requested a lot, so I hope you all enjoy, even if the holidays are kind of over… Got a lot of new videos coming soon, so stay tuned, and thanks for watching!
Fantastic! Thanks a ton! Would you ever consider doing a video about how you make these reductions? I use Sibelius 7.5 for my compositions, but I really have no idea how to approach making a reduction like you do. Thanks again!
Not to mention FIVE flats!!! why on earth do composers pick some of the worst, most awkward keys that just don't work well on keyboard instruments without awkward crazy fingering!
@@HobbyOrganist my piano has 88 keys. All of them work without awkward crazy fingering! You've got only 5 flats? Tiny lite keyboard, my man, if I'd have to guess, you might have been fooled. Nobody wants a keyboard with one octave. But you did. poop
So first: incredible. Second: Williams snuck in the chords to ‘We Wish You a Merry Christmas’!!! They are the chords of the ‘interlude between iterations of the main theme’ (e.g. measure 15). Found your channel while trying to prove this point. It’s easier to illustrate this point in the ‘ending’ score reduction because that’s in C major. I think this is why ‘We Wish You a Merry Christmas’ is part of the official score. Though his arrangement interestingly leaves out that clunky baseline you usually hear that hammers out the chords. (The chords that make up the interlude here).
Hello, First of all thank you and congratulations for your work it is completely fascinating !! To make these reductions do you use trade scores? (if yes what is the source) or have you noted each part? (if so, BRAVO !!)
It's actually a flute, an oboe and a clarinet superimposed on each other ( all playing the exact same notes). He tends to add an English Horn , which is really an alto oboe, to this mix to create a "longing /yearning" sound. I dont think the passage is strained enough to have an English Horn though.
Might I suggest you start incorporating inversions into your harmonic descriptions? Inversions are not a trivial detail, but essential to the structure of the voice-leading in tonal music. For instance in bar 21, you describe the first harmony as Ebm7/Gb. Although at the most literal level this is correct, the problem is that it implies that there are two different harmonies occurring here: an Eb-minor harmony somehow transplanted on top of an unrelated but simultaneous Gb harmony. Of course that is not at all what is happening: the Gb in the bass is PART of that Eb minor harmony, in what is called a "first inversion" harmony, meaning that the third of the chord, rather than the root, is in the bass. There are different ways to notate this: Figured bass would say ii6/5, and harmonic description would say Ebm7 in first inversion. But the idea is the most important thing: that this harmony has been ALTERED to have a pitch other than the root of the chord in the bass, thus creating not only a different focus of the motion in the bass, but also an entirely different expressive quality to the coloring of that harmony. It's the alteration of a SINGLE harmony, and not the simultaneity of two different harmonies, as the notation Ebm7/Gb implies.
I'm confused by what you're trying to say because in leadsheet notation, Ebm7/Gb means exactly and Ebm7 chord in first inversion (i.e., an Ebm7 chord with a Gb as the lowest sounding note)
@@InvalidFingerprint Yes, you're exactly right, and as a former jazz pianist I'm familiar with this manner of notation. The point I'm making is that this way of notating is not at all analytical but merely practical: "here's the chord you need to play, and here's the note that needs to be in the bass". It's DESCRIPTIVE, but not analytical; and by the way, this leadsheet style does not necessarily indicate inversions. It can also indicate any type of non-harmonic tone in the bass, for instance C7/F#, or something like that. My point is that for the most acute type of analysis, the inversions should be indicated, for they serve a function in the music. That's all analysis is, after all: determining function.
@@nicholasfox966 ahh my apologies, now I see what you're saying. And yes I agree, leadsheet is easy to read in the moment and just say in your head "okay left hand, play the Gb and right hand voice some Ebm7" but you're right, as an analytical tool it rarely will give all the information, especially in as complex a piece as this
Probably Hal Leonard. That's where I bought the Schindler's list theme score. But make sure it's the authentic, certified John Williams score. Usually they cost a little over $100-$200.
LOL, I’m a *tad* late on this… this has been requested a lot, so I hope you all enjoy, even if the holidays are kind of over… Got a lot of new videos coming soon, so stay tuned, and thanks for watching!
Ook!
Fantastic! Thanks a ton! Would you ever consider doing a video about how you make these reductions? I use Sibelius 7.5 for my compositions, but I really have no idea how to approach making a reduction like you do. Thanks again!
John Williams really _loves_ half step modulations.
Who doesn't, though? :D
Not to mention FIVE flats!!! why on earth do composers pick some of the worst, most awkward keys that just don't work well on keyboard instruments without awkward crazy fingering!
@@HobbyOrganist Because of the sound and feeling, also keys shouldn't mean much if you know your instrument well
@@HobbyOrganist my piano has 88 keys. All of them work without awkward crazy fingering! You've got only 5 flats? Tiny lite keyboard, my man, if I'd have to guess, you might have been fooled. Nobody wants a keyboard with one octave. But you did. poop
Not a modulation though that's a key change, modulations are longer in scale.
Mate this video is phenomenal, looking into his orchestration and its honestly masterful
So first: incredible. Second: Williams snuck in the chords to ‘We Wish You a Merry Christmas’!!! They are the chords of the ‘interlude between iterations of the main theme’ (e.g. measure 15). Found your channel while trying to prove this point.
It’s easier to illustrate this point in the ‘ending’ score reduction because that’s in C major.
I think this is why ‘We Wish You a Merry Christmas’ is part of the official score. Though his arrangement interestingly leaves out that clunky baseline you usually hear that hammers out the chords. (The chords that make up the interlude here).
john williams christmas music = greatness
I have no words to thank you for the work you did, very helpful in orchestration.
Yes!! God I love it. Seriously, I look forward to your videos more than any other channel.
Thank you so much...I could not express how grateful I am...
I love you man, always thanks for that your effort to make this amazing stuff on TH-cam, sharing your knowledge also.
Oh my gosh.. It’s Christmas🕺🏻🕺🏻💕💕 Thank you sooo much!! I really love Home Alone osts
2:00 That is supposed to be a "vi", not "VI" as there is not D#.
OMG A TRIUMPH AD ALWAYS
WOULD LOVE TO SEE "MERRY XMAS MERRY XMAS" FROM HOME ALONE 2 LONY.
Do you ever think of doing lord of the rings soundtrack reductions?
How am I just now finding this station? This is absolutely fantastic... better than watching the movies!
By the way if you place the chords to Cannon in D on top of the main motif it fits perfectly.
Very interesting analysis
This is amazing!!! Thanks so much!
Reminds me a lot of John Rutters Music :-)
3:04 You forgot to add a C#m7 chord here.
Hello, First of all thank you and congratulations for your work it is completely fascinating !!
To make these reductions do you use trade scores? (if yes what is the source) or have you noted each part? (if so, BRAVO !!)
I love it!!!
You forgot the horn part at measures 56 and 57
What's the piece at the very end? After "Somewhere in My Memory"
What instrument is that on the solo around 25 seconds? It sounds like either an alto saxophone, a French Horn, or an Oboe. Does anyone know?
It's oboe and flute together on the melody
It's actually a flute, an oboe and a clarinet superimposed on each other ( all playing the exact same notes). He tends to add an English Horn , which is really an alto oboe, to this mix to create a "longing /yearning" sound. I dont think the passage is strained enough to have an English Horn though.
Ethan St. Ives so definitely not an alto sax
bar 15 Enigma
3:04 french horn fail...
simply painful
Might I suggest you start incorporating inversions into your harmonic descriptions? Inversions are not a trivial detail, but essential to the structure of the voice-leading in tonal music. For instance in bar 21, you describe the first harmony as Ebm7/Gb. Although at the most literal level this is correct, the problem is that it implies that there are two different harmonies occurring here: an Eb-minor harmony somehow transplanted on top of an unrelated but simultaneous Gb harmony. Of course that is not at all what is happening: the Gb in the bass is PART of that Eb minor harmony, in what is called a "first inversion" harmony, meaning that the third of the chord, rather than the root, is in the bass. There are different ways to notate this: Figured bass would say ii6/5, and harmonic description would say Ebm7 in first inversion. But the idea is the most important thing: that this harmony has been ALTERED to have a pitch other than the root of the chord in the bass, thus creating not only a different focus of the motion in the bass, but also an entirely different expressive quality to the coloring of that harmony. It's the alteration of a SINGLE harmony, and not the simultaneity of two different harmonies, as the notation Ebm7/Gb implies.
I'm confused by what you're trying to say because in leadsheet notation, Ebm7/Gb means exactly and Ebm7 chord in first inversion (i.e., an Ebm7 chord with a Gb as the lowest sounding note)
@@InvalidFingerprint Yes, you're exactly right, and as a former jazz pianist I'm familiar with this manner of notation. The point I'm making is that this way of notating is not at all analytical but merely practical: "here's the chord you need to play, and here's the note that needs to be in the bass". It's DESCRIPTIVE, but not analytical; and by the way, this leadsheet style does not necessarily indicate inversions. It can also indicate any type of non-harmonic tone in the bass, for instance C7/F#, or something like that. My point is that for the most acute type of analysis, the inversions should be indicated, for they serve a function in the music. That's all analysis is, after all: determining function.
@@nicholasfox966 ahh my apologies, now I see what you're saying. And yes I agree, leadsheet is easy to read in the moment and just say in your head "okay left hand, play the Gb and right hand voice some Ebm7" but you're right, as an analytical tool it rarely will give all the information, especially in as complex a piece as this
Anyone know where do you get the full score of this music?
Probably Hal Leonard. That's where I bought the Schindler's list theme score. But make sure it's the authentic, certified John Williams score. Usually they cost a little over $100-$200.
I am so in the wrong comments section right now. 😂
Sees the key signature
That’s a Nope
git good
It's based on Canon in D, like so many songs out there. Try putting that baseline with this.